Omid Djalili: “My English side really loves the royal family, and my Iranian side hates me for this. … You can tell I’m a very, very British person, but I’ve kept my roots quite strong. I still speak Farsi. I find Arabs hilarious.”

“Already well established in the US, crowdfunding has begun to establish itself in the UK with beneficial consequences for producers keen to create and promote new shows and for companies struggling to cope with the ever-tightening purse strings of public funding.”

“For many, the vacancy is sheer coincidence, an alignment of slots in a city known for its turnover. But others ask a dreaded question, one that looms over federally funded institutions: In a time of government shutdowns and regular budget brawls, does top talent really want to deal with us?”

“The wish is that a short book can navigate both print and digital with buoyant grace, where a bigger one might capsize. ‘Somewhere between a long magazine article and a book’ is the sweet spot that many publishers describe.”

“Early in her career, [Alice Instone] wrote to Cherie Blair, explaining her mission to give women the painterly attention lavished on men. She was thinking of women of influence – the National Portrait Gallery, she points out, is overcrowded with paintings of famous men.”

“Ms. Waldman and Mr. Becker transformed the former German Exchange Bank building, a cast-iron landmark in Manhattan, into the Bouwerie Lane Theater, a 140-seat Off Off Broadway stage at the Bowery and Bond Street that kept the Dutch spelling.”

“While people browsing, say, biographies or science books were happy to do it from their desktops, a disproportionate number of you were looking up the sexy sexy books on mobile. Didn’t want the boss looking over your shoulder, huh?”

“Situations like this are very complicated. There’s the safety of the work, there’s the protection of the work. You know, how do you sustain a collection? How do you have it support itself as a collection?”